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The Chauvet paintings gave a rise to a number of new problems for pre-
historic art specialists and made them come back to the old, "forgotten"
ones. One of them is the perspective origin in painting. It is considered
that the construction of space, extending into the distance from a
spectator, on a plane, was mastered and realized only by Renaissance
artists. Evidences that the classical artists could skillfully enough
reproduce the space intensity (for example, Pompei frescos) are
considered to be the first approaches to the scientific (geometrical)
perspective. But not a single specialist saw any elements of the
perspective in the paintings of pre-historic artists (30.000 years before the
antiquity), though in some cases, for example, in
Lascaux they could be
seen. The Chauvet frescos gave practically a monosemantic answer to
this question. From the first glance at the horses, shown here, one can see
the space intensity and understand that it is not a question of the
geometrical perspective. Rather the theory of the linear perspective,
formed in the Renaissance, served as a geometrical lay-out of how the
ancient artist saw and reflected space. After all, unlike in the antiquity
and the Renaissance, when each more or less known artist had his own
studio (which was also a school), nobody tought the artist who painted
the Chauvet cave.
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